Dutch artists Jeroen de Rijke and Willem de Rooij received international recognition for their seemingly luxurious and self-reflexive 35mm films. This first comprehensive monograph discusses how Dutch painting, Minimal Art, and film conventions become the backdrop for a “cinema in its decontextualized form.”

In her seminal essay, author Vanessa Joan Müller discusses how in de Rijke/de Rooij’s work “the classic time-space continuum – in which space is crossed and time flows – is nearly transformed to movement in standstill. To use Gilles Deleuze’s substantial cinematographic classification, the artists’ films can be said to deliver not ‘images of movement’, but instead moving images that separate the visible from things, and movement from history, favoring time as a category of aesthetic experience.”